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Mediji Kot Epistemološki Vmesniki

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Mediji Kot Epistemološki Vmesniki Ana Beguš Mediji kot epistemološki vmesniki Predstavitev McLuhanove teorije medija Prispevek predstavlja metodološki pristop Marshalla McLuhana k raziskovanju medijev, poznan pod imenom teorija medija. Avtorica uvodoma predstavi pojmovni aparat teorije medija, vključno s tetrado medijevega učinka kot orodjem za anticipiranje kulturnih implikacij tehnologij, pri tem pa poudari tezo, da McLuhan medije razume kot primarno epistemološke vmesnike. V nadaljevanju McLuhanov metodološki pristop teoretsko umesti, pri čemer izpostavi primerjave z drugimi vsebinsko sorodnimi pristopi (Benjamin, Flusser, Haraway). V zadnjem delu prispevka so predstavljeni avtorji, ki gradijo na McLuhanovi teoriji (Torontska šola komunikacije, Manovich), in aktualnost njegove raziskovalne misli danes. Ključne besede: teorija medija, Torontska šola komunikacije, tetrada medijevega učinka, kulturni vmesniki, digitalni mediji Doc. dr. Ana Beguš je diplomirala iz prevajalstva in doktorirala iz filozofije in teorije vizualne kulture; raziskovalno se ukvarja z novimi mediji in jezikovnimi tehnologijami. Dela na Fakulteti za humanistične vede na Univerzi na Primorskem. ([email protected]) Media as Epistemological Interfaces: McLuhan’s Medium Theory The paper presents the methodological approach of Marshall McLuhan to media research, known as the medium theory. The author initially presents the key concepts of the medium theory, including the tetrad of media effects as a tool for anticipating the cultural implications of technology, and proposes the hypothesis that McLuhan understood media as primarily epistemological interfaces. McLuhan’s methodological approach is then placed into a theoretical context, especially in comparison to other similar approaches (Benjamin, Flusser, Haraway). The last part of the paper presents the authors, building on McLuhan’s theory (Toronto School of Communication, Manovich), and the relevance of his research today. Keywords: medium theory, Toronto School of Communications, tetrad of media effects, cultural interfaces, digital media Assist. Prof. Ana Beguš graduated in translation and obtained her doctoral degree in philosophy and theory of visual culture; her research areas are new media and language technologies. ([email protected]) Ana Beguš | Mediji kot epistemološki vmesniki 183 1 McLuhan tako med medije uvršča zelo raznovrstne artefakte, kot so žarnica in računalnik, fonetska abeceda in televizija, Marshall McLuhan (1911–1980) je v raziskovanju velikokrat opre- linearna perspektiva in vlak (McLuhan in deljen kot teoretik medijev, četudi njegovo raziskovalno delo sega Powers, 1989: 43–44). čez meje tradicionalne opredelitve področja medijskih študijev. Po 2 Dejavnost, ki razkriva učinke nove McLuhanu pojem medija namreč ne zajema le komunikacijskih tehnologije na nas, je po McLuhanovem in informacijskih medijev ali tehnologij (IKT), temveč se v širokem mnenju umetnost: je namreč protiokolje, ki kaže na naravo ozadja, na katerega se pomenu nanaša na vsak posrednik ali prenosnik, s katerim se človek postavi lik. Podobno mnenje o izpadu sis- izraža in skozi katerega je, tudi nehote ali nezavedno, izražen. Zanj tematične obravnave medija filma izraža so mediji »vsi človekovi artefakti – jezik, zakoni, ideje in hipoteze, tudi Manovich, 2001. orodja, oblačila in računalnik.« (McLuhan in Powers, 1989: 71)1 V tem smislu medije lahko razumemo kot ekstenzije ali razširitve človekovega telesa: »Vsi mediji so rekonstrukcija, model neke biološke zmožnosti, pospešene nad človekovo zmožnostjo izvajanja: kolo je ekstenzija stopala, knjiga je ekstenzija očesa, obleka je eks- tenzija kože in električno omrežje je ekstenzija živčevja.« (ibid: 87) McLuhan medija torej ne razume zgolj v tehničnem pomenu – kot fiksni kanal ali orodje, temveč skorajda kot živ organizem, ki raste in se razvija. Mediji vplivajo na človekovo čutno raven zaznavanja in jo temeljno spreminjajo, saj vplivajo na posameznikovo zaznavanje in spoznavanje ter preoblikujejo odnose med njim in okoljem, kar po McLuhanovem mnenju lahko primerjamo s situacijo, ko melodiji dodamo novo noto: »In ko se razmerja čutov v kulturi spremenijo, lahko tisto, kar se je prej zdelo nedvoumno, hitro postane dvoumno, in kar je bilo nejasno ali dvoumno, lahko hitro postane razvidno.« (McLuhan, 2000: 41) Za avtorja je tako medij tudi sporočilo, s čimer želi poudariti, da temeljnega transformativnega vpliva medijev na čute in razmerja med njimi skorajda ne moremo dovolj poudariti. Vsebina medija, če jo ta sploh ima, je izrazito sekundarna, primar- na je sprememba zaznavanja, ki ga medij s svojo specifičnostjo uvede v človekovo zaznavanje. Po McLuhanu je namreč pojem nepristranskega (objektivnega) zaznavanja ravnovesje čutov, tj. zaznavno stanje, ko se vsi čuti v enaki meri prevajajo drug v drugega in nobeden od njih zaznavno ne izstopa oziroma ni nadrejen drugim. Za razlago teh procesov si iz gestalt psihologije sposodi Rubinova pojma ozadja in lika, ki ju prenese na analizo kulturnih fenomenov: izhaja namreč iz osnove, da človekovo običajno razmerje čutov (senzorijum) vsebuje vse potencialne like v čutni latentnosti hkrati. Pri zaznavanju nato asimiliramo tiste dele izkušnje, ki se nam zdijo pomembni, in spregledamo vse tisto, kar se nam zdi nerelevantno. Ker se to dogaja pod ravnjo našega zave- danja, procesa ne zaznavamo. Način zaznavanja tako pojmujemo kot nevtralen ali univerzalen, čeprav je kulturno oz. tehnološko pogojen. Ozadje tako pomeni »strukturo ali slog zavedanja, način gledanja ali pogoje, pri katerih zaznavamo lik« (McLuhan in Powers, 1989: 5). Medij se skozi našo izkušnjo imponira kot lik, ki vedno deluje skozi svoj kontekst ali ozadje. Čeprav se naša pozornost usmerja le na lik, pa učinkovanje nove tehnologije nikoli ni ome- jeno samo na to majhno področje, temveč vedno deluje v celotnem okolju ozadja in lika: »Po redu stvari je ozadje prvo. Lik sledi pozneje. Prihajajoči dogodki mečejo senco predse. Ozadje vsake tehnologije je tako situacija, ki tehnologijo omogoča, kot tudi celotno okolje prednosti in slabosti, ki jih tehnologija prinaša s seboj. Ti stranski učinki se naključno imponirajo kot nova oblika kulture. Medij je sporočilo.« (ibid) Zaradi te nevidnosti medijev se ljudje do tehnologije vedemo podobno kot Narcis, ki se je zaljubil v podobo samega sebe, misleč, da je to nekdo drug: razumemo jo torej kot nekaj zunaj nas, kar z nami ni povezano, čeprav bi morali uvideti, da je to pravzaprav naša lastna podoba. Takšno (ne)razumevanje zaznavnih in epistemoloških implikacij tehnologije je tudi razlog, da je bila po McLuhanovem mnenju celostna obravnava medijev v preteklosti sistematično spregledana.2 184 Časopis za kritiko znanosti, domišljijo in novo antropologijo | 255 | McLuhanove teorije medijev Učinkov medija na nas se ne zavedamo ravno zato, ker gre za dejaven proces, ki zasiči naše območje pozornosti, ki tako postane običajno in s tem tudi nevidno: »/Z/di se, da osrednji živčni sistem v samozaščiti otopi prizadeto območje, ga izolira in anestezira od tega, da bi se zavedali, kaj se dogaja. Gre za proces, podoben tistemu, ki ga telo doživi pod šokom ali stresom, ali tistemu, ki se zgodi umu po Freudovem konceptu potlačitve. To posebno obliko avtohipnoze imenujem nar- cisova narkoza, sindrom, kjer pri človeku tako povsem izostane zavedanje psihičnih in družbenih učinkov nove tehnologije, kot se riba ne zaveda vode, v kateri plava. Posledično na točki, kjer novo medijsko vpeljano okolje postane prevladujoče in popolnoma preobrazi naše ravnovesje čutov, postane tudi nevidno.« (McLuhan, 1969) McLuhanov pristop v veliki meri temelji na raziskovalnem delu Harolda Innisa, pa tudi sicer, kot je McLuhan poudarjal na več mestih, ni izviren, temveč: »Nič inherentno vznemirljivega ali radikalnega ni v tem pristopu, z izjemo tega, da so se ga, kdo ve, zakaj, lotili le redki. V zadnjih 3500 letih zahodnega sveta so bili učinke medijev – pa naj gre za govor, pisavo, tisk, fotografijo, radio ali televizijo – družbeni opazovalci sistematsko spregledali. Tudi v današnji prevratniški elektronski dobi raziskovalci navajajo le malo znakov, da bi spremenili ta tradicionalni nojevski pristop.« (McLuhan, 1969) Da bi lahko analizirali učinke medija na družbo in posameznika skozi dinamiko lika in ozadja, McLuhan razvije model t. i. tetrade medijevega učinka. Tetrada temelji na premisi, da vsak novi medij nastane z inovacijo že obstoječega, stari medij pa postane ozadje, na katerem novi medij stoji kot opazen lik: »Osnova vsake tehnologije je situacija, ki omogoča njen vzpon, kot tudi celo- tno okolje (medij), prednosti in slabosti, ki jih tehnologija nosi s seboj. To so stranski učinki, ki postanejo nova kulturna oblika, če to hočemo ali ne.« (Old messengers, new media, 2011) Tetrada medijevega učinka nam omogoča, da medije bolje razumemo in nad njimi vzposta- vimo nadzor, vodi pa tudi do kritičnega pretresa kulture in družbe. Grafično jo lahko ponazo- rimo s petimi rombi v obliki črke X. Štirje rombi pomenijo štiri vidike, lastne vsakemu mediju, ki jih lahko ponazorimo tudi z naslednjimi vprašanji: – krepitev: vsak medij določene elemente postavlja v ospredje, jih krepi oziroma poudarja; – krnitev: vsak medij določene elemente postavlja v ozadje, erodira ali izpostavlja izginjanju; – obnovitev: vsak medij znova prikliče določene elemente, ki so že zakrneli oziroma izginili v pozabo; – preobrat: ko je potisnjen do svojih skrajnih meja, se vsak medij preobrne oz. spremeni v svoje nasprotje. Krepitev in obnovitev sta na grafični ponazoritvi postavljena na levo stran tetrade in pomenita
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